Reprise (Starsky & Hutch story)

Fanfiction
Title:	Reprise
Author(s):	Marion Hale
Date(s):	1980
Length:
Genre(s):	gen
Fandom(s):	Starsky & Hutch
Relationship(s):
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Reprise is a gen Starsky & Hutch story by Marion Hale.

It is in One Shot #1.

Reactions and Reviews

Unknown Date

In 'Reprise,' Prudholme escapes from the asylum and wreaks his revenge on Starsky by grabbing Hutch. This is a very intense story, with extreme h/c, but well-written and a shining example of the guys dedication to their friendship.

1980

‘Reprise’ uses the Third Coming of George Prudholm – recycle! recycle! – for what purports to be an examination of human vulnerability and guilt. Prudholm kidnaps Hutch and tortures him, wringing from him a statement that he would allow Starsky to take his place if he could. Starsky, meanwhile, rises to the bait, follows Prudholm to Utah and is himself taken. more torment ensues, with rescue delayed just long enough for Hutch to be flogged into critical condition. Later, in the hospital, he can neither face Starsky nor his betrayal. He lapses into unconsciousness every time he tries to confess, but is ultimately absolved when Starsky admits to a similar lapse. If the theme sounds familiar, it is: ‘Reprise’ echoes Dotty Barry’s ‘When All Else Fails’ even to the near-exact repletion of specific dialogue. If the treatment sounds familiar, yea, verily, that is, too. This is the formula get-‘em of the Contact school, wherein A suffers horribly, B watches (and suffers horribly) and C stands by and sneers, not omitting the opportunity to suggest that the getees’ friendship is less that pure and noble. So far, so bad. But what drops the story below the level of simple bathos is its dishonesty. Prudholm does not break Hutch. Hutch does not betray Starsky. When Hutch is present, when Hutch’s pain is at its most intense, when the choice is real, Hutch refuses the exchange… [It] simply vitiates the story, reduces the beginning to an exercise in SM-flavored titillation and the denouement to a wallow in cheap sentimentality. Worse, yet, Starsky’s vindication of his partner and himself is the precise equivalent of the ‘devil made us do it,’ not an acceptance of moral responsibility but an abdication of it. Beside this, the excruciating make-cutesy of the Star Trek con and the Standard Wacko #2 characterization of Prudholm fade into insignificance. Not once does the story confront flawed humanity….

‘Reprise’ is not strenuous – it’s not even a Good Story because it’s too formulated – but it works on its own terms.

1984

"Reprise" by Marion Hale, finds Starsky once again in the grip of George Prudholm's madness, as a simple overpowering of a prison guard lands him back on the streets, where he manages to kidnap Hutch and shuttle him off to Salt Lake City before Starsk is even aware his partner is missing. Blondie is, of course, the bait; instructions on where to find him arrive shortly at Metro, accompanied by a tape giving audible proof of the kind of torture Hutch has, and will continue to endure, until Curly gets his ass to Utah. Backed by Dobey and the Feds, Starsk arrives at the designated spot, is picked up by Prudholm, and taken to join Hutch in a deserted shack, conveniently surrounded by mountains, rendering useless the transmitter hidden in his shoe. Once there he is not allowed to see his partner, but is locked in an adjacent room and encouraged to "listen to the punishment," i.e., beatings, whippings, and assorted blond gasps and groans. Hurt/comfort fans - take note. Our heroes eventually triumph and Prudholm is apprehended; bringing to a close yet another "What's a Partner For?" adventure in the lives of S&H. Or so I thought. The focus suddenly shifts to Hutch, who is noticeably suffering from more than the after effects of physical abuse; withdrawing further and further into himself, until Starsk is confronted with little more than a zombie lounging in a hospital gown. The psychological scars run deep, and it isn't easy breaking through the barrier. But Dave Starsky has never been known to give up where his Blintz is concerned, and the fleshing out of these emotions brings this tale to a satisfying conclusion. I must confess, I had a little trouble believing Hutch would guilt trip so severely over something he really had no control over. However, while this point was not easily overlooked, it did not detract from ray enjoyment of the story. Situations are a bit fantastic, but credible in context; characterizations are true, and the writing is excellent.